Musical Journeys WEEKLY STREAMING PROGRAMS Episode 1 Notes
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FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E
FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC WORLD PREMIERE–NEW YORK PHILHARMONIC COMMISSION of Wynton MARSALIS’s The Jungle (Symphony No. 4) With the Jazz at Lincoln Center Orchestra with Wynton Marsalis First of THE NEW YORK COMMISSIONS William BOLCOM’s Trombone Concerto with Principal Trombone JOSEPH ALESSI COPLAND’s Quiet City with Principal Trumpet CHRISTOPHER MARTIN and English Horn Player GRACE SHRYOCK in Her Philharmonic Solo Debut December 28, 2016–January 3, 2017 Music Director Alan Gilbert will conduct the New York Philharmonic in the World Premiere of Pulitzer Prize winner Wynton Marsalis’s The Jungle (Symphony No. 4), commissioned by the Philharmonic as the first of The New York Commissions, with the Jazz at Lincoln Center Orchestra with Wynton Marsalis; William Bolcom’s Trombone Concerto with Principal Trombone Joseph Alessi as soloist; and Copland’s Quiet City, featuring Principal Trumpet Christopher Martin and English horn player Grace Shryock in her Philharmonic solo debut. The performances take place Wednesday, December 28, 2016, at 7:30 p.m.; Thursday, December 29 at 7:30 p.m.; Friday, December 30 at 8:00 p.m.; and Tuesday, January 3 at 7:30 p.m. Wynton Marsalis’s The Jungle is the first of The New York Commissions, in which the Philharmonic is celebrating its long history as an active commissioner and New York City cultural institution by commissioning works on New York–inspired themes from New York– based composers with strong ties to the Orchestra, on the occasion of the Philharmonic’s 175th anniversary season. -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
The Structure and Genesis of Copland's <I>Quiet City</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2011 The trS ucture and Genesis of Copland's Quiet City Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Musicology Commons, and the Music Theory Commons Kleppinger, Stanley V., "The trS ucture and Genesis of Copland's Quiet City" (2011). Faculty Publications: School of Music. 49. http://digitalcommons.unl.edu/musicfacpub/49 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. twentieth-century music 7/1, 29–59 © Cambridge University Press, 2011 doi:10.1017/S1478572211000041 The Structure and Genesis of Copland’s Quiet City STANLEY V. KLEPPINGER Abstract Aaron Copland’s Quiet City (1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw’s play. The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music’s first and last bars. Both this principle and the exceptions to it suggest a correspondence to the internal struggles of Shaw’s protagonist, Gabriel Mellon. -
The Chapman Orchestra in Concert: "The French Connection"
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-3-2017 The Chapman Orchestra in Concert: "The French Connection" Chapman Orchestra Follow this and additional works at: https://digitalcommons.chapman.edu/music_programs Part of the Music Performance Commons, and the Other Music Commons Recommended Citation Chapman Orchestra, "The Chapman Orchestra in Concert: "The French Connection"" (2017). Printed Performance Programs (PDF Format). 1605. https://digitalcommons.chapman.edu/music_programs/1605 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Hall-Musco Conservatory of Music presents: THE CHAPMAN ORCHESTRA in Concert The French Connection Daniel Alfred Wachs Music Director & Conductor The Chapman Orchestra March 3, 2017 7:30 pm Musco Center for the Arts 3-3-17 TCO Primary BW insert.indd 1 2/21/2017 12:32:19 PM Program Suite from Pelléas et Mélisande Gabriel Fauré (1845-1924) I. Prélude II. Fileuse III. Sicilienne IV. Mort de Melisande Quiet City Aaron Copland (1900-1990) Olivia Gerns (‘18), English horn Matthew LaBelle (‘17), trumpet Daniel Alfred Wachs, conductor 3-3-17 TCO Primary BW insert.indd 2 2/21/2017 12:32:20 PM Program Scène et Air d’Ophélie Ambroise Thomas (1811-1896) Yllary Cajahuaringa ’17, soprano 2016 Vocal Competition Winner Symphony No. 31, Paris W.A. Mozart (1756-1791) I. -
Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962, Trip
^Jke L^enlrat ^J\enlucnu Concert and cJLeclure +^erie5y ^rnc. A United Concert Association sponsored jointly by THE UNIVERSITY OF KENTUCKY THE LEXINGTON PUBLIC FORUM THE CENTRAL KENTUCKY CONCERT ASSOCIATION presents BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor PROGRAM Quiet City, for Strings, Trumpet and English Horn . Aaron Copland Trumpet: ROGER VOISIN English Horn: LOUIS SPEYER Composed as an orchestral piece in the autumn of 1940, "Quiet City" had its first performance by the Saidenberg Little Symphony, Daniel Saidenberg conductor, at Town Hall, New York, January 28, 1941. "In the Spring of 1939," writes Mr. Copland, "I was asked by my friend Harold Clurman, Director of the Group Theatre, to supply the incidental musical score for a new play by Irwin Shaw, author of 'Bury the Dead,' 'The Gentle 9 People' and other dramas. His new opus was entitled 'Quiet City, and was a realistic fantasy concerning the night-thoughts of many different kinds of people in a great city. It called for music evocative of the nostalgia and inner distress (Continued on next page) \SJ ' XJZW &V A DIVISION OF United Audience Service &/.,,<&* • €>/• t ~s s U COLISEUM TOWER • 10 COLUMBUS CIRCLE NEW YORK 19. N. Y. of a society profoundly aware of its own insecurity. The author's mouthpiece was a young trumpet player called David Mellnikoff, whose trumpet playing helped to arouse the conscience of his fellow-players and of the audience. The play was given two 'try-out' performances in New York on successive Sunday evenings in April of 1939, then withdrawn for revisions. -
Note on Sources
Note on Sources elen Chinoy made the decision early in her writing of the Group’s story to minimize scholarly apparatus. Her objective was to follow a scheme H“that avoid[s] footnotes in the text.” Her intention was to have “notes for each chapter take the form of a running commentary which picks up topics and quotes.” She then would expect the reader to locate specific sources for all references in the bibliography. Unfortunately, she only left behind one example of this strategy, while from time to time including in her narrative allusions or direct references to sources. Her one full example actually added several pages to the one sample chapter. The length of her manuscript precluded the editors from following this prescription and adding more words to the total or trying to retrace all of Chinoy’s more-than-three-decade research efforts in order to locate all her sources. Still, the editors felt that readers of Chinoy’s version of the Group Theatre’s history needed some suggestion of sources used and the inclusion of signpost references were most helpful in having some grasp of Chinoy’s extensive research of both published and archival sources. Our decision is a compromise of Chinoy’s wishes. We’ve tried not to jeopardize or disrupt her narrative, and we’ve operated on our shared assumption that Helen Chinoy was the major scholarly authority on the Group; over decades, she had assimilated a vast amount of knowledge on all aspects of the Group (as her archival notes confirm). Thus we urge the reader to trust Chinoy’s own unique role as a principal authority on this subject—and American theater in general. -
KWE 1013 Johnny Johnson Introduction
Kurt Weill Edition, Ser. I, Vol. 13 Johnny Johnson INTRODUCTION by Tim Carter I. Weill, Green, and the Group Theatre 1935–36. The composer had arrived in New York City on 10 September II. Rehearsals and Premiere 1935 to work on the upcoming production of The Eternal Road. The meet- ing with Clurman prompted the idea of a new musical-theatrical collabo- III. The Federal Theatre Project ration that would be Weill’s first written specifically for the American stage; IV. Later Productions it would also be the Group’s first venture into such terrain. For Weill, this V. A Musical Play? was not the only possibility in the cards. On 31 January 1936 Weill wrote to his publisher, Heugel, in Paris about plans that included a musical with VI. The Edition Ben Hecht and Charles MacArthur (the authors of Jumbo), adding that VII. Some Performance Issues “similarly I am having discussions with the Group Theatre, the most mod- ern and newest theater company in New York. They are also very interested in me.”2 Although a New York production of Die Dreigroschenoper in April This Edition marks the first publication of the full score and complete text 1933 had not gone down well, Weill had already gained a reputation in of Johnny Johnson (1936), Weill’s earliest work specifically composed for his some circles there by way of a production of Der Jasager (also April 1933) new American audience. The Group Theatre had put Weill in contact with under the auspices of the Henry Street Settlement Music School, con- the North Carolina playwright Paul Green (1894–1981) and opened the ducted by Lehman Engel and directed by Sanford Meisner (who played production at the Forty-Fourth Street Theatre, New York, on 19 Novem- Captain Valentine in Johnny Johnson), as well as by reports of his work in ber 1936.